Graphics aside, battling with the Unlimited Saga system is clunky and completely unintuitive. The battle engine features an insane potluck of disparate elements, almost as if Square-Enix took all of the purged leftovers from ten or fifteen other games and smashed the scraps together to create the unholy videogame sausage that it is.

I think most disappointing for me was how Transmission lost a great opportunity to expand on the concepts "Battle Network" was built on.

Very polished and thoroughly enjoyable. But for a game that was subject to so many delays and such high expectations, it's disappointingly limited in scope and is sorely lacking innovation or refinement of any kind.

The combination of a unique concept and a refreshing original and light-hearted setting make WarioWare one of the pleasant surprises in terms of engaging original software on the GBA.

A glimmer of the first game's superb design and balance remains underneath these missteps, but the bottom line is that instead of building upon the solid foundation from the first game, they undermined it.

It's more fun than "State Of Emergency" (but then, what isn't?) and more interesting than "Hunter: The Reckoning" (if only because Ash is a more identifiable character than anyone featured in that game), but most gamers will have to ask themselves if that actually means anything since neither of those games were classics to begin with.

As average a game can get, with plenty of things going wrong for it, as enjoyable as it might be at times.

Very plain and ordinary, and without the Nemo license there wouldn't be much reason to actually own it.

Since Aria Of Sorrow is the third Castlevania in as many years, I'm also concerned that Konami is growing increasingly content to simply rest on their laurels.

There's nothing revolutionary to be found here—no innovative play mechanics, no stunning graphics. This is a rock-solid Nazi-blasting FPS, and nothing more.

No review will ever accurately convey the tension in navigating through a sea of multiple colored bullets that fill every inch of the screen or the joy in finally nailing a 100+ chain combo because Ikaruga, like all good shmups, is visceral.

Beating The Lost Age is going to require at least 30 hours (and more if the player wants to do all of the side-quests and find all of the hidden goodies) and maybe more if gamers aren't good at puzzles. There's nothing inherently wrong with a game lasting this amount of time (although it does seem long for a handheld RPG) as long as the gameplay warrants it. Too bad for The Lost Age that it shows all of its tricks in the first 12 hours or so...

InuYasha may not be able to compete with the big boys of the fighting genre, but fans of quirky anime games or those looking for a budget fighter won't be disappointed.

One of the most enjoyable, and addictive, games I've played in years. Never have I expected so little from a game and gotten so much. I truly relished every (split) second of it, not only as a great racing game but as a great videogame that happens to be about racing.

Just a decent sci-fi story mixed with some rather unambitious gameplay. Nothing is done gratingly poorly, but neither is anything done with any sense of innovation or panache.

Pleasant graphically, but disturbing as a more complete experience.

Don't get me wrong, I do like the game. It's just that perhaps I'll wait until a version with playable God Cards is released before I buy another Yu-Gi-Oh! game.

It's sad. It boggles the mind to think that this much time was spent on presentation and backstory when none of it resonates in the slightest.

The way that Amplitude is structured lends itself more to good reflexes, the memorization of patterns, and concentration rather than simply a good ear for music.

Because of the game's subtle tributes to the deeper complexities in life, the game is no less compelling than if I were playing it as a child. The difference is that as an adult, I can herald it as a true work of beauty.

It's an intriguing and ultimately fatally flawed entry in an already clogged genre, and a warning to other companies who would use games as a commercial vehicle: please be sure you can make a decent game, or it's worse than no advertising at all.

Resonates much stronger than Sony's otherwise noble hand at tactical combat. Not only is the game not held back because of certain console-based restrictions (controllers, options available, graphics, etc.), but the game seems to be less about nationalism and more about the dedication and strife anti-terrorist groups must experience.

While the game starts off on the right foot with a dark tale of schoolgirls, slaughter, and restless spirits, it immediately trips over the other foot with a range of directorial issues an overall lack of focus.

The fights are long and challenging, and the gameplay has an appeal all its own. With plenty of features, great graphics and sound and a surprisingly well-developed backdrop, Tao Feng's unique gameplay is a welcome step in the right direction.

It creates an experience that truly comes the closest to actual soccer as any other videogame to date.

As an historical RTS, Praetorians does an admirable job of integrating its subject matter with solid gameplay, as opposed to simply using the historical period as a backdrop for a slew of war scenarios.

Everything the first game was not, and far more. Not only did the developers correct, expand and improve upon every aspect, they have authored one of the most utterly perfect synergies of gameplay, direction and storytelling that I've ever witnessed.

Sonic is fast alright. Yet here's a game that openly discourages Sonic and his friends from fully embracing the thing that made the Sega's mascot so popular in the first place: raw, uncontrolled speed.